Paradise Garden by Matt Caldar

Paradise Garden Matt Caldar

Table of Contents

Heide MOMA

Paradise Garden

Superblock

Therapy Re-mediation Forest

Artist-in-Residence

Design Outcomes

Context

Works of Progress and Findings

Notes

Section - Existing

Heide MOMA

eide, as its founding by John and Sunday Reed draws on impermanence. Upon taking ownership of the site, the Reeds embarked up the process of renewal and remediation upon the landscape through art and design. Their process was a process of testing on the land and in their creativity. Heide was in part a place to self-sustain in living, but also failing and creating in their own private space of exploration. While not explicitly an environmental approach, their lives were driven by their land at Heide, which later was augmented with their beach house at Aspendale. Terms that could be coupled with this approach are environmental remediation, A therapy of the land and an ecological fascination. All going hand in hand with a nurturing of contemporary artists, not just as an exhibition space in the Gallery of Contemporary Art, then Museum of Modern Art but as a generative site with the land giving back in a feedback loop of creative output. McGlashan and Everist’s Reed’s House on the beach in Aspendale, then Heide 2 was a consolidation of these “generative arts on the land” approach. The Mt Gambier limestone embraces impermanence in its aging patina while registering it creative mark in time. For this reason Andrew Andersons Heide 3 built in 1993 fails. It is a built outcome of a preservational point of view of the past and that new creative endeavours on site should go unnoticed and not be perceived. The overlay of site, from a larger scale, the changing of the river, the location of Yangabeal, the scar tree and point of songlines, colonial cottage adopted to become Heide 1, the pastoral paddock, the ecological changes in the alluvial plains accompanying frequent flooding, and the nature of Heide Moma, Heide 1,2,3,4, and now 5! All speak to a state of change. Successful outcomes to break this stalemate are regarding past programs for future use. O’Connor and Houles architecture with Elizabeth Peks landscape architecture was a successful remediation of Andrew Andersons building in an action of hybridising, and now enables us up to facilitate a remediate and create approach for the site at large, and actively render unstable the static foundations of MoMA.

Section - Therapy/Re-mediation Forest Proposal

Paradise Garden

aradise Garden. as a semi-private asset has an opportunity to harness the Reed’s generative testing on site, particularly in landscape that its surrounding parks and reserves are unable to do. Rather than preserving, the past can facilitate future in use and program. Just as the Reeds did not tear down and replace the colonial cottage that became their home, now Heide 1. Nor, they stop farming upon the land when taking up ownership of the land, or as Heide 2 became a gallery after being a home. Heide MoMA is not to be erased in its form, or is it to be static and unchanging. Dynamism, reinvention, and iterative generation are the only true permanent elements and forces on site.

Design Overlay 1:500 A0 8

Plan Proposal 1-500 @A0 9

Superblock The Collective

odernists’ move of the superblock defines the design. Its the collective circulation experience. As the individual arrives via the motor vehicle a quintessential modernist mode of movement, they commence their visit at the most private of public concepts, the parking space. This individual experience of arrival becomes the collective once entering the superblock. Now a single point of entry, once within the superblock the experience is no longer theirs alone, but a collective of people who have left marks upon the land through art, architecture, and function and will generate further. This superblock of Heide’s pivots off Yingabeal, the Wurundjeri scar tree, redefining the central focal space of Heide MOMA from Heide 1 to the greater past and the potential future . Connects the museum to the Birrarung as a collective, no longer hidden away, but an unavoidable destination. Provides legibility of spaces to leverage off beside and defines the edges of the collective.

Collective start and open central space pivoting off Yingabeal.

Open

Compression of space by architecture.

Compression

Blurring of intimate and open forest spaces.

Blur

Axis of view to the Birrarung with an artist-in-residence and Crescent House anchoring it as part of the museum.

Axis

Therapy Re-mediation Forest The Individual

herapy first and foremost as re-mediation. Re-mediation of the land and re-mediation of visitors. One should not happen without the relationship of the other. Trees and the change of spatial conditions they provide. Small steps such as Fiona Hall’s Rockery Garden, and Lauren Berkowitz’s Karakarook’s Garden of native grasses are a good example of this, but being a private asset not a park Heide should employ John and Sunday Reed’s scale of testing and regenerative planting as a method of therapy. This is an individual experience, therapy not on a prescribed path, but each path as an individual. The visitor here has exited the collective superblock and is confronted with choices, a uniqueness of destination This occurs under a planting of a forest as a grid, adopting agro-forest plantation practices for rapid growth. Open mid-storey, tall canopy, in time provides growth of forest “rooms” with the clear sign of the human hand n the form of a grid. The intersection of Manna gums and River Red gums disturbs the plantation matrix, inserting chaos.

Manna Gum (Eucalyptus viminalis) Matrix

River Red Gum (Eucalyptus camaldelensis) Matrix

Manna Gum (Eucalyptus viminalis) and River Red Gum (Eucalyptus camaldelensis) Intersection Matrix 18

Manna Gum (Eucalyptus viminalis) Matrix

River Red Gum (Eucalyptus camaldelensis) Matrix

River Red Gum (Eucalyptus camaldelensis) Established 1:500 19

Manna Gum (Eucalyptus viminalis) 20

River Red Gum (Eucalyptus camaldelensis) 21

Tree Survey - Current

Tree Survey - Proposed

Tree Survey - Speculated Dieback 22

The potential. Trees are often scaled back, reduced and hidden from architectural renders with their true scale unrealised. Eucalyptus viminalis and Eucalyptus camaldelensis grow to incredible sizes at much faster rates than redwoods making them ideal plantation timbers.. These trees depicted don’t even achieve the 60 metre height potential of of the Eucalyptus viminalis. For comparison the builidng, the Design Hub, designed by Sean Godsell only achieves a height of 40 metres.

Therapy Re-mediation Forest 24

Artist-in-Residence The generator

aying homage of the past to generate the future. Design, Program and management of Heide draw on the past program of place as a generative site of arts and ecology. With its palimpsest of past usages Heide MOMA has a strong opportunity to shift from a current preservationist “what was” mindset of a typical museum to reinstating the land as a place of research and testing. Reinstating Heide as a place to live and draw inspiration from, not as a visitor, but a resident. An artist-inresidence on site continues the museum towards the Birrarung and provides this place of generation.

rtist-in-residence draws on studio typologies. As its situated on the flood plain, a platform of impermeability is built into its materiality. Its key function is generation, not stagnation. Growing and receding with its surrounds is its function.

Therapy re-mediation forest

New program of residency at Heide MOMA

Atomized 3 new exhibition spaces

Singular entrance and parking

Design Outcomes

Yinabeal is at risk from works in the vicinity of the tree, compaction from pedestrians, drought stress and damage to the trunk with low foliage density, tree rot, and dieback. All design works consider this.

30m provision of clear space around yingabeal to mitigate risks highlighted by the victorian heritage register. The site’s design pivots off Yingabeal, the scar tree, as a key driver of design.

Major regeneration area

Main parking area Main circulation addressed within the superblock

A central established superblock that new major additions leverage off.

The therapy garden forest provides a self-guided circulation through.

Incorporates Heide buildings, Yingabeal, and the therapy garden in one clear path

Clear circulation from Heide buildings to the river.

Visual link to the Yarra river created

New central clearing

Removal of some trees, with care that neither the poplars to the north or the native remnant patch to the south are touched.

A temporary residence situated on the floodplain

A generative process of artists occupying and creating on site with new outcomes that don’t necessarily adhere to the preservation of “what was”, but pushes Heide further forward as a site of experimentation

65m² artist-in-residence

Planting grid of Manna gums (Eucalyptus viminalis) with riparian ecotopes.

Planting grid of river red gums (eucalyptus camaldulensis) with grassy woodlan ecotopes.

17,000m2 of new forest and regenerated space. A therapy garden forest and re-mediation site that typify the site’s Ecological Vegetation Class.

Main exhibit space and f&b opportunity with vertical transport options to address the steep gradient for dda access to the floodplain

Education, exhibition and F&B options that incorporate the context of being situated near Yingabeal

765m2 of new space: 650m² exhibition space 115m² potential F&B opportunities

130 spaces in overflow parking bays.

190 spaces in main carpark

320 Parking places With single entry for Heide MOMA

1934 Yarra River in Flood, Abbotsford, Victoria

Context

he Birrarung’s impermanence is evident throughout the river’s catchment by the billabongs that speak of what was once the location of the river itself. Geology, deposition, and flow have dictated the marks on the land as a dynamic, not static force.

In occupational colonial times, almost immediately there are records of historical floods with accompanied surprise of the seeming ability of the river to break previous records in the colonists short history of records. “By dawn yesterday the waters had risen to a greater height than in the great flood of 1891, and, later they passed an axe mark on an old pine tree at Heidelberg which was supposed to mark the highest level ever reached in 1863.” (The Examiner, December 3rd, 1934) 1863 being only 26 years into Melbourne’s history, but already trying to mark a permanence on a land that did and does not exist. It must be said to cement this dynamic state, firstly and fore mostly 100 years flood zones, of which most of Heide’s site sits within, are a statistical probability of this level of flood event occurring 1% on any given year. In fact there is a 63.4% chance of one or more 100-year floods occurring in any 100-year period. As such, a 50 year flood event has a 2% probability of occurring each year, a 10 year flood event 10% and so on. This only highlights the uncertainty and impermanence of site that belies this place. Heidelberg history Heide, as its founding by John and Sunday Reed draws on this impermanence. While they reforested their plot of land along the banks of the Yarra river, they were drawn to site by the Heidelberg School, which in turn desired this place for its seeming remoteness, but also its colonial occupation, it being established just 3 years after Melbourne’s founding with it having some of the earliest rural allotments. Furthermore, the Reeds have an even firmer hand in the process with Henry Reed, John Reed’s grandfather partly financing John Batman’s land grab endeavour in Victoria (Harding, Morgan and Amor, n.d.)

Heide Influences Reeds Beach House, Aspendale George and Mirka Mora, Aspendale, City Studio, Mirka Cafe Albert and Barbara Tucker - Hurstbridge Clifton Pugh, Frank Werther - Dunmoochin, Cottles Bridge Aurthur Boyd - Open Country, Murrumbeena Neil Douglas - Bend of Isles, Kangaroo Ground Danila Vassilief - StonyGrad, Warrandyte Justus Jorgenson, Gordon Ford, Ellis Stones, Alistair Knox - Montslavat Peter Burns - Bend of Islands

Bulleen Superblock Site

1971 aerial survey image of 1 in 20 year flood event

EVC 56 FLOODPLAIN RIPARIAN WOODLAND

EVC 172 FLOODPLAIN WETLAND AGGREGATE

EVC 55 GRASSY PLAINS WOODLAND

1750 EVCs 1:2000

2005 EVCs 1:2000

Quaternary Alluvial flats

Silurian

Mudstones, siltstones, and sandstones

Geology 1:2000

Frequent Level

1 in 20 year

1 in 50 year

1 in 100 year

Flood Events 1:2000

Vegetation Cover

Yarra river swimming

1St entrance

1931 1:2000

Vegetation Cover

Yarra river swimming

2Nd entrance

1945 1:2000

Vegetation Cover

Swimming Pool

3Rd Entrance

1984 1:2000

Vegetation Cover

2019 1:2000

Ecological Composite 1:2000

Timeline Composite 1:2000

Works in Progress and Findings

An iterative design and analysis process.

Benchmark: Louisiana Museum of Modern Art, Denmark The precedent project contains a clear linear circulation through built form with numerous additions being built at different stages of the museum’s life, but a clear architectural narrative y way of the covered walkway. This legible approach is key as a precedent, but Heide requires an additional overlay of impermanence, such that Olafur Eliason’s work exhibited here offers.

First Artist-in-Residence Iteration

Site Photos

First Artist-in-Residence Iteration

Site Photos

Birrarung River Catchment

Site Photos

Initial Site Plan via EVCs

Site Photos

First Site Visit Workshop

Perceived Boundary Mapping

Obstacles

Perceived Boundary Mapping

Ground Conditions

Perceived Boundary Mapping

Perceived Boundary

Perceived Boundary Mapping

Points Of Interest

Sections Of Perceived Boundary 1:2000

Expereience Composite

Art and the geology it occurs on

Site Photos

Art and the geology it occurs on

Site Photos

Study Model

Study Circulation Model

Design Sketch

Birrarung River Context

Initial Site Plan

Site Photos

Mid-Semester REGARD MATT CALDAR YARRA RIVER AND 100 YEAR FLOOD EXTENT CONTOURS

Aerial Survey Murray River, 1945

EVC 56 FLOODPLAIN RIPARIAN WOODLAND FREQUENT LEVEL

QUATERNARY ALLUVIAL FLATS 1 IN 20 YEAR

1 IN 50 YEAR EVC 172 FLOODPLAIN WETLAND AGGREGATE EVC 55 GRASSY PLAINS WOODLAND 1 IN 100 YEAR

SILURIAN MUDSTONES, SILTSTONES, AND SANDSTONES

1750 EVCs

GEOLOGY

FLOOD EVENTS

2005 EVCs

1:1000

YARRA RIVER SWIMMING

SWIMMING POOL

3RD ENTRANCE

2ND ENTRANCE 1ST ENTRANCE

1931

1945

1984

2019

1:1000

OBSTACLES

GROUND CONDITIONS

PERCEIVED BOUNDARY

POINTS OF INTEREST

1:1000

ECOLOGICAL COMPOSITE

TIMELINE COMPOSITE

1:1000

1:1000 EXPEREIENCE COMPOSITE

SECTIONS OF PERCEIVED BOUNDARY

1:1000

Mid-Semester THERAPY GARDEN/ REMEDIATION SITE

NEW PROGRAM OF A RESIDENCY AT MOMA

THREE NEW EXHIBITION SPACES

SINGULAR ENTRANCE AND PARKING

OPPORTUNITIES ISSUES

RETREAT

STASIS

NON- REMEDIATION

320 PARKING PLACES

765M2 OF NEW SPACE:

WITH SINGLE ENTRY FOR HEIDE MOMA

650M² EXHIBITION SPACE 115M² POTENTIAL F&B OPPORTUNITIES

MAIN EXHIBIT SPACE AND F&B OPPORTUNITY WITH VERTICAL TRANSPORT OPTIONS TO ADDRESS THE STEEP GRADIENT FOR DDA ACCESS TO THE FLOODPLAIN

130 SPACES IN OVERFLOW PARKING BAYS.

The native plantings encouraged by Neil Douglas along with McGlashan and Everist’s Heide 2 were some of the last outward creative and remediative steps by the Reeds after decades of creative experimentation upon the land. The construction of the swimming pool in 1974represents the start of the Reeds preservation and retreat. A solidification of “what was” and precursor of Heide to conduct itself as a museum of stasis rather than generative site of testing and creativity.

EDUCATION, EXHIBITION AND F&B OPTIONS THAT INCORPORATE THE CONTEXT OF BEING SITUATED NEAR YINGABEAL

190 SPACES IN MAIN CARPARK

LEVERAGE

PLANTING GRID OF MANNA GUMS (Eucalyptus viminalis) WITH RIPARIAN ECOTOPES.

A TEMPORARY RESIDENCE AS ITS SITUATED ON THE FLOODPLAIN

A THERAPY GARDEN FOREST AND REMEDIATION SITE THAT TYPIFY THE SITE’S EVC

CENTRAL BLOCK

PLANTING GRID OF RIVER RED GUMS (Eucalyptus camaldulensis) WITH GRASSY WOODLAN ECOTOPES.

65M² ARTIST-IN-RESIDENCE

A GENERATIVE PROCESS OF ARTISTS OCCUPYING AND CREATING ON SITE WITH NEW OUTCOMES THAT DON’T NECESSARILY ADHERE TO THE PRESERVATION OF “WHAT WAS”, BUT PUSHES HEIDE FURTHER FORWARD AS A SITE OF EXPERIMENTATION

REMOVAL OF SOME TREES, WITH CARE THAT NEITHER THE POPLARS TO THE NORTH OR THE NATIVE REMNANT PATCH TO THE SOUTH ARE TOUCHED

LEVERAGE

THE THERAPY GARDEN FOREST PROVIDES A SELFGUIDED CIRCULATION THROUGH,

PIVOT

NEW CENTRAL CLEARING

INCORPORATES HEIDE BUILDINGS, YINGABEAL, AND THE THERAPY GARDEN IN ONE CLEAR PATH

VISUAL LINK TO THE YARRA RIVER CREATED

1-1000

CLEAR CIRCULATION FROM HEIDE BUILDINGS TO THE RIVER

APPROACH Paying homage of the past and its impermanence as actions of the future.

PRECEDENT: Louisiana Museum of Modern Art, Denmark

Design, Program and management of Heide draw on the past program of place as a generative site of arts and ecology. With its palimpsest of past usages Heide MOMA has a strong opportunity to shift from a current preservationist “what was” mindset of a typical museum to reinstating the land as a place of research and testing.

The precedent project contains a clear linear circulation through built form with numerous additions being built at different stages of the museum’s life, but a clear architectural narrative y way of the covered walkway.

Heide MOMA can leverage its opportunities as a private asset to actively engage a standpoint of radical experimentation on the land by integrating research into ecology and arts as a spatial arrangement and program.

This legible approach is key as a precedent, but Heide requires an additional overlay of impermanence, such that Olafur Eliason’s work exhibited here offers.

Cross section of tree trunks at Heide MoMA from the riparian floodplain to grassy woodland. MAJOR REVEGETATION LEVERAGE

THE SITE’S DESIGN PIVOTS OFF YINGABEAL AS A KEY DRIVER OF DESIGN

1-1000 Evening With Bathers Above Alluvial Sands by Aurthur Streaton

John Reed Among Remnants by Alburt Tucker, 1942

Golden Summer Above Siltstone by Aurthur Streaton

YINABEAL IS AT RISK FROM WORKS IN THE VICINITY OF THE TREE, COMPACTION FROM PEDESTRIANS, DROUGHT STRESS AND DAMAGE TO THE TRUNK WITH LOW FOLIAGE DENSITY, TREE ROT, AND DIEBACK. ALL DESIGN WORKS CONSIDER THIS

3OM PROVISION OF CLEAR SPACE AROUND YINGABEAL TO MITIGATE RISKS HIGHLIGHTED BY THE VICTORIAN HERITAGE REGISTER

A CENTRAL ESTABLISHED “BLOCK” THAT NEW MAJOR ADDITIONS LEVERAGE OFF

MAJOR ENTRANCE AND PARKING LEVERAGE MAIN CIRCULATION IS ADDRESSED WITHIN THE “BLOCK”

Mid-Semester HEIDE 5

1:500

Proposed - Section 1:500

Existing - Section 1:500

Mid-Semester RESIDENCY

1:100 Reed House, Aspendale 1961 John Perceval, Nadine Amadio, Sunday Reed, Philippe Mora, George Mora, John Reed by John Sinclair

Reed House, Peter Burns Proposals

The Reed House, Aspendale by McGlashan and Everist 1961

Heide II, Bulleen by McGlashan and Everist 1967

Neil Douglas 1974, Bend of Isles

Notes

Consist of: Heide Museum of Modern Art : Conservation Management Plan LOVELL CHEN / NOVEMBER 2014 : CONSERVATION MANAGEMENT PLAN Heide Museum of Modern Art : Archaeological Excavation – Sidney Myer Education Centre Development GOULDING HERITAGE CONSULTING / DECEMBER 2004 : ARCHAEOLOGICAL REPORT Heide II, III and IV : Conservation Management Plan BRYCE RAWORTH WITH PHILIP GOAD AND PATERSON + PETTUS / AUGUST 2000 : CONSERVATION MANAGEMENT PLAN And various other research.

Notes Heritage Conservation Management Plan Lovell Chen – 2014 Prepared for: Arts Victoria and Heide Museum of Modern Art

indings The historical significance is the strength of the association with the genesis of the modern art and modernism in Australia. It relates to the intimate connection of the place with patrons and collectors John and Sunday Reed. For the cultural impact of many and the “Heide Circle” artists. Individual element s and features at Heide reflect the diverse interests and beliefs of the Reeds. Heide 1, recast by the Reeds in the 1930s is a highly personal response to the place, and reflects the couples contemporary interests and preferences. Heide 2, is a rarefied and highly sculptural of contemporary domestic design, which of exceptional architectural significance in its own right. Other elements that contribute to an understanding of Heide as a physical biography of the Reeds include the diverse and informally planned landscape areas, the Heide collection of artworks, the Heide library and the collection of manuscripts, artefacts, and personal effects associated with the Reeds and their circle of Heide artists. Heide is of value to the indigenous community, the focus of this value if Yingabeal, a c. 500-year old Eucalyptus Camaldulensis (River Red Gum). Heide is also of social (or living) value to the Victorian community at large. It has been a public visitor attraction for over 30 years and commands a high level of loyalty. Heide is imbued with an intangible spirit of progress and modernity. The Reeds belief and progressive world view provided the genesis of this spirit, and subsequent generations of artists, designers, architects, and thinkers have taken inspiration and energy from.

Recommendations Conservation.

The building, landscape, furniture, furnishings and collection of primary significance at Heide should be conserved. In the main these buildings and elements relate directly to the Reed period of ownership, and contribute to an understanding of the development and operation of the property between the mid 1930s and early 1980s. Future Change and Use The Reeds orchestrated the transformation of their private residences into a publically accessible park and museum, and the on-going operation of the place as a centre for the promotion of modern and contemporary art and culture contributes to the cultural significance of the place. Today, there is an interest in optimising the revenue-generation potential of the place, including – potentially – a research facility-related to modern art and Heide’s collections, artists studios, and a multi-function space for commercial use. There are also requirements for on-site storage and staff amenities. There is a tension in delivering on these objectives, and the conservation of the place. Heide is physically constrained site with diverse and discreet values. It is a finely balanced place with a finite potential for future change and development. In general, extensions to existing buildings and new developments should be limited to sympathetic extensions to buildings of contemporary value, and free standing buildings whose design and location does not impact on the valued character and presentation of buildings and landscape areas of primary significance. Management The Victorian Heritage Register (VHR) entries for Heide 1 and 2 should be reviewed to to reflect the outcomes of this CMP. It is recommended there should be a single entry in the VHR for Heide 1 and 2. In addition, the temporary reserve to the south of 7 Templestowe Road should be incorporated into the VHR extents of registration for Heide 2, in order to manage future development of the this area. The potential for Heide to be of national significance should be confirmed by comparative research and review by specialist third parties P9. 2.1 Indigenous Land Use. Named Yingabeal in Oct 2013 ceremony. In 2003/4 archaeological excavation revealed stone aboriginal artefacts to the NE of site. P12 2.4 Landscape Embracing Natives 1960s-1970s “It gradually dawned on us that we’d made a mistake… that we were spending a tremendous amount of energy and time and money on laying down plants which were basically unsuited to the environment and which needed constant care and attention” The Reeds planted in keeping with the Yarra valley, they were motivated to create habitats for native fauna and birdlife. The Reeds did not veer from the planting path adopted in the mid 1960s. In Dec 1975, aged in their 70s they planted 500 native trees and shrubs in the cow paddock P24 Heide 3 Today the principal view of the 1993 building is from the West, where it reads as a monolithic building mass compared to the subtlety of articulation demonstrated at Heide 2. Heide 3 and SMEC are Zinc cladded. SMEC is used for school visits, corporate events, functions and the like. P26 3.2 Landscape

Heide 1 is bounded by substantial plantings to Templestowe road, the Heide Car parks to the North and west and the entry of Banksia park to the south. Algerian Oaks (Quercus Canariensis) and Elms (Ulmus Procera), planted during the early stages of the Reed ownership, provide a vegetative screen to the Eastern Boundary with a clipped hedge of Boxthorn behind the fence providing further spatial definition of the boundary. The vegetable garden is smaller than the original layout due to the presence of a number of large Eucalypts to the west, remnant elements of the “rainforest” developed in the 1980s, and new beds created on the east side. Produce from the vegetable garden is used on-site in the café.

The orchard was re-established in the same location as the early orchard developed by the Reeds – the original had been replanted with eucalypts in the 1960s/1970s. A pedestrian path between the house and the Templestowe Road frontage that formally bisected the orchid was not re-instated. To the south of Heide 1, the Wild Garden has, as its name implies a far less formal character with meandering paths winding through garden beds dominated by exotic trees and shrubs. Planted by Neil Douglas. Heide 3 Park The row of Osage Trees used by David McGlashin to determine the location of Heide 2 extends up the slope to the east of the building. There is a long tradition of Osage orange trees as a windbreak planting in Australia. The majority of exotic trees survive in a broad Arboretum-like band extending E-W across site and running down the slope to the river flats. The southern portion of river bank is dominated by locally indigenous trees including river red gums and a Manna Gum which grew following a major flood event in 1934. Amongst the native trees in the interface with Banksia park is some Californian Redwoods which benefit from the wetter conditions there. The Northern most river boundary of Poplars and Algerian Oak contrast with the native plantings of the south. P35 4.2.2 Heide as an inspiration for creative expression. Callum Morton, Ghost Train, Bulleen 2011 In Memorium N of SMEC are remnant post and rail fencings. And near Crescent house running N-S P50 Areas of low significance are the reserve extension of Heide 3, and the northern boundary of the upper car park, extending around to the site of SMEC P53 The broader landscape was relatively wild and unkempt during the Reeds ownership, particularly in their later years. 2000 CMP Paterson and Pettus Landscape Architects Read “The Modern House in Melbourne” Philip Goad Land Survey Office 1971 1:7200 2004 Heide SMEC Archaeological Excavation -1839 Nutts Survey Plan - 1858 Unwins Special Survey - 1858 Elgars Survey 2 definite stone aboriginal flaked stone artefacts. One large (68mm) and a silcrete blade.